| Since the late 1980 s,post-modernism is no longer a phenomenon within one country.Although China has not reached the post-modern society,the striking commonness between China and the West has already appeared.In terms of movies,the capital and business logic in the process of industrialization of Chinese movies are constantly being strengthened.Consumerism,mass culture,visual culture and entertainment are permeating the film.The influence of postmodern culture on Chinese movie industry has become an indisputable fact.In the past twenty years,the development of New Year Movies in mainland China is the epitome of the great development of Chinese films,and also a visual presentation of the social and cultural development.This paper attempts to provide a new perspective and annotation space for the development of mainland New Year Movies in the past twenty years from the perspective of postmodernist culture and the cultural characteristics of China.The author studies the four aspects of the postmodern cultural context,the general situation of development,the postmodern characteristics and its dialectical evaluation.The introduction part mainly reviews the research status of New Year Movies.The first chapter is mainly from China's own social and cultural transformation and the introduction of Western postmodernism,and it investigated the changes that have taken place in the movie industry and in the literary world under their influence,then it indicates that the movie's merchandise attributes are highlighted in a market economy and that films are tailored to market needs.China's secular culture,consumer culture and entertainment culture are also rising.The author then analyzes that the development of New Year's films is immersed in the context of consumer culture,mass culture and visual culture.The second chapter mainly expounds the development process and the stage change of the Chinese New Year film.It points out that New Year's films inmainland China have gone through four stages successively: the thriving Feng's civilian comedy,the large-scale costume movement to create a visual spectacle,the extended film type,the synergy of light film and heavy industry film.The third chapter mainly clarifies the postmodernist features of the Chinese New Year films,and analyzes the concrete performance of the Chinese New Year films in the following three aspects:games and video carnival,commonly used postmodern techniques,and media and technology reliance.The fourth chapter analyzes the pros and cons of the development of Chinese New Year films under the post-modern cultural spectacle.It points out that on the one hand,the mainland New Year films can absorb the post-modern elements in an innovative and diversified way,gain market and box office.On the other hand,it also leads to such problems as the empty value of the film,the dilution of morality and rationality,over-entertainment and "vulgarization",the lack of true meaning of New Year's celebration and the poor quality of the film.The conclusion is the author's suggestion on the healthy development of New Year films and related practical considerations.By contacting the actual authors in China,it is pointed out that during the New Year period,it is necessary to ensure diversified film themes to meet people's different viewing needs.We should also devote ourselves to creating a New Year film with truly festive connotations and folk culture.The film should pay more attention to the real life,highlight the theme of welcoming the Spring Festival and celebrating reunion,convey humanistic care and a positive attitude towards life,and arouse the audience's New Year's psychology and cultural memory. |
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